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The Art of Counterpoint from Du Fay to Josquin
  • Jesse Rodin
  • Coming soon
  • Expected online publication date:
    January 2025
    Print publication:
    31 January 2025
  • Offering sweeping insights and challenging conclusions, this book revolutionizes our understanding of the musical revolution of the fifteenth century. Renaissance composers developed fresh ways of manipulating musical flow in pursuit of intensifications, unexpected explosions, dramatic pauses, and sudden evaporations. A new aesthetics of opposition, as this study calls it, can be contrasted with smoother and less goal-oriented approaches in music from before-and after-the period ca. 1425–1520. Casting wide evidentiary and repertorial nets, the book reinterprets central genres, theoretical concepts, historical documents, famous pieces, and periodizations; a provocative concluding chapter suggests that we moderns have tended to conceal the period's musical poetics by neglecting central evidence Above all the book introduces an analytical approach sensitive to musical flow, and invites new ways of hearing, performing, and thinking about music from Du Fay to Josquin.

  • 4 - TheL’homme armétradition – and the limits of musical borrowing

  • from Part I - Historiography
  • Edited by Anna Maria Busse Berger, University of California, Davis, Jesse Rodin, Stanford University, California
  • Book:
    The Cambridge History of Fifteenth-Century Music
    Published online:
    05 July 2015
    Print publication:
    16 July 2015, pp 69-84

  • Summary

    This chapter explores the musical life of the Armed Man, beginning with Josquin, Pierre de La Rue, and others active at the turn of the sixteenth century. It proposes a new way of parsing the musical connections that bind several fifteenth-century settings together. The chapter considers several additional examples of musical borrowing, with respect to both masses and secular L'homme arme settings. It discusses the terminological propriety and methodological value of musical borrowing. The earliest surviving reference to a L'homme arme mass dates from 1462-63, when Regis's setting was copied in Cambrai. Musical quotation is central to late medieval ways of composing. Borrowing might seem the sexier interpretive tool, but the lingua franca is often more powerful. The L'homme arme tradition is a resonant, indeed cacophonous echo chamber that challenges one to distinguish originary sounds from their reverberations.

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